‘I’m a one in a billion’ – how Diane Warren penned windswept power ballads for Cher, Gaga and Dion

She’s the queen of the power ballad mega hit – and has even written songs for Biden, Harris and Ringo Starr. Now the world’s most successful female songwriter is finally releasing her own album

At the end of the 1990s, when Diane Warren was the unrivalled queen of the power ballad, her music publisher presented her with a quartet of gold discs and a plaque hailing her as “the career saviour of the 90s”. The discs celebrated the windswept mega-hits Warren had written for Toni Braxton (Un-Break My Heart), LeAnn Rimes (How Do I Live), Celine Dion (Because You Loved Me) and Aerosmith (I Don’t Want to Miss a Thing), the first two of which are still among the bestselling US singles ever.

To be imperial in one pop era is usually to be defined by it for evermore, but Warren has been writing hits for almost four decades, notching up nine US No 1s and 32 Top 10 hits. In 2015, Til It Happens to You, her potent Lady Gaga collaboration for a documentary about campus rape, made her once again the pop equivalent of the striker you turn to when you absolutely have to score a penalty.

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The day my voice broke: what an injury taught me about the power of speech

When I damaged my vocal cords, I was forced to change the way I spoke – and discovered how much our voices reveal who we are

Some years ago, I was invited by my then boss, Jann Wenner, the owner of Rolling Stone, to be the lead singer in a band he was putting together from the magazine’s staff. I had just turned 41, and I jumped at the opportunity to sustain the delusion that I was not getting old. “Sign me up!” I said.

My chief attributes as a singer included impressive volume and an ability to stay more or less in tune, but I was strictly a self-taught amateur. I had, for instance, never done a proper voice warmup, and had certainly never been informed that the delicate layers of vibratory tissue, muscle and mucus membrane that make up the vocal cords are as prone to injury as a middle-aged knee joint. So, on practice days, I simply rose from my desk (I was finishing a book on deadline and spent eight hours a day writing, in complete silence), rode the subway to our rehearsal space in downtown Manhattan, took my place behind the microphone and started wailing over my bandmates’ cranked-up guitars and drums.

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